By shunning the temptation to be all things to all users, some programs manage to retain their purity, focusing on what they do best. Corel Painter 11 is one of these applications, and as such it is an invaluable artist's tool. It isn't for everyonefor example, it isn't meant to (nor can it) replace a serious photo editing package such as Photoshop. And it makes no concessions to beginners, many of whom would doubtless be happier with a much simpler and less expensive program such as the $25 (direct) ArtRage 2. Painter is meant for serious professionals, such as graphic artists, industrial designers, illustrators, and fine artists. Arguably, it's de rigueur for anyone whose livelihood involves creating images (yes, that means photographers, too). Even if your income doesn't depend on it, Painter is still valuable for the wonderfully flexibleif dauntingly sophisticateddigital palette you get as a weekend Van Gogh.

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Although it's been just over two years since the company updated the package, version 11 is an evolutionary step rather than the revolutionary one you might expect. Anyone with a working knowledge of the previous version will be able to step into Painter 11 with ease. What's more the refinements and increased flexibility will draw current users into upgrading.

Realer Realism

The primary feature of Painter X, for example, was the astoundingly realistic RealBristle tool. It recreated the sensation and the artistic effect of working with physical brushes by recognizing the pressure applied on the stylus and the speed at which it moved when a user executed a stroke. With that information, the driving algorithm could map the path of each individual bristle. Faster strokes were thinner, for example, while slower strokes with more pressure splayed out the brush so that more marks from individual strands appeared. Loaded brushes laid down a thicker, more saturated streak.

In this version, Corel has expanded the RealBristle tool to encompass hard or dry tools, including chalks, colored pencils, pastels, and even Conté crayons. So now, when you select the digital versions of these instruments, faster strokes produce thinner lines. Conversely, the velocity control will put down more ink with slower strokes. Also new is support for tablet tilt, which adjusts the width of a brush stroke or pencil line depending on the angle at which you hold the pen. The feature makes use of a digital tablet all but a prerequisite.

If this still doesn't offer enough dexterity to satisfy your artistic longings, you can experiment by creating your own brushes and pens. A hard-media palette in the program, for example, offers a dizzying array of adjustments, letting you alter traits including angle, size, dab profile and tilt angle, allowing nearly endless permutations that all but guarantee your work will be unique.

For many years, programs such as Painter have fought the notion that if the tools of your trade are digital, then what you create isn't art. In fact, tools like this let artists stretch the boundaries and take painting to places it can't go with actual paints and brushes. Indeed, this version, which eschews the word digital in favor of the neologism natural media, conclusively takes us beyond this old debate by letting you experiment with materials and media that lie beyond traditional, real-world techniques. For example, Painter 11 allows you to create a brush that doesn't exist in any studio, mix impasto with charcoal, or even create a canvas with surface textures unavailable in art-supply shops.Next: Practical Improvements

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